Stanley Picker Gallery, Kingston University, London Kingston School of Art, Grange Road, Kingston upon Thames KT1 2QJ

P!CKER, PART II Céline Condorelli: Prologue

Céline Condorelli, ‘Prologue' (2017), installation view, Stanley Picker Gallery at Kingston University London.

Condorelli’s prologue is merely the latest episode in a continuous process of exchange and renewal, where the legacy of a project – in this case both Lustig Cohen’s show, and Condorelli’s own show at P! last year – is archived, mined and reworked, forming new projects, new exhibitions, and new ways of understanding the contexts within which we work. Review by Phoebe Cripps

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The Geffen Contemporary At MOCA, 152 N Central Ave, Los Angeles, CA 90012, USA

Adrián Villar Rojas: The Theater of Disappearance

MOCA presents Adrián Villar Rojas: The Theater of Disappearance, a site-specific installation inside The Geffen Contemporary at MOCA’s warehouse space. Villar Rojas (b. 1980, Rosario, Argentina) has built a singular practice by creating environments and objects that seem to be in search of their place in time. Villar Rojas’s interventions beckon viewers to consider fragments that exist in a slippery space between the future, the past, and an alternate reality in the present. With his post-human artworks, Villar Rojas posits the question: What happens after the end of art?

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Galerie Thaddaeus Ropac, Ely House, 37 Dover Street, London W1S 4NJ

Lee Bul: After Bruno Taut

Lee Bul, After Bruno Taut, Galerie Thaddaeus Ropac

Through complex and elaborate works, Lee Bul portrays failed models that echo the qualities of utopian systems of early twentieth century architecture as well as the politics of totalitarian regimes. The works displayed in ‘After Bruno Taut’ at Galerie Thaddaeus Ropac strongly emphasise the excess and fragility of our world, and our failure to control it. Review by Fiorella Lanni

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Museumpark 18-20, 3015 CX Rotterdam, Netherlands

Academy of Tal R

Academy of Tal R Museum Boijmans Van Beuningen

As seen in Tal R's mid-career retrospective, Academy of Tal R, currently at the Museum Boijmans Van Beuningen, he tends to work in series and employs intermittently recurring motifs yet his subject matter, compositional arrangements and application of materials evidences an approach that is anything but doctrinaire. Review by John Gayer

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Plymouth Arts Centre, 38 Looe Street, Plymouth, PL4 0EB

Clare Thornton: Materials of Resistance installation view

Clare Thornton: Materials of Resistance installation view

In Clare Thornton’s current solo exhibition, Materials of Resistance, showing work from the last seven years, delicate materials – including the body itself and those that stand in for it – are put at risk and tested to breaking point. Review by Ellen Wilkinson

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Serpentine Sackler Gallery, West Carriage Drive, London W2 2AR

Rose Wylie: Quack Quack

 Rose Wylie, Installation view, Quack Quack, Serpentine Sackler Gallery, London

Rose Wylie’s paintings have previously been dismissed as ‘childish’. Her forms are decisive, irreverent, lucid; facial expressions are often reduced to a mere few brushstrokes. In this way, her paintings are, in fact, childhood remembered and rendered exactly as it exists for us as adults – as hazy fragments, as depictions not just of events or places, but of how it felt to be there. Review by Phoebe Cripps

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Thomas Dane Gallery, 3 & 11 Duke Street St James's, London SW1Y 6BN

Phillip King: Colour on Fire & Ceramics 1995-2017

Phillip King, Ceramics 1995-2017, 2017. Installation view

The ceramics mark a key departure in King’s work; where previously he had produced mainly large coloured sculptures in steel and plastic, the unglazed vessels speak a quieter aesthetic language. Review by Samuel Glanville

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Yorkshire Sculpture Park, West Bretton, Wakefield WF4 4JX

Alfredo Jaar: The Garden of Good and Evil

Alfredo Jaar, Shadows, 2014.

Alfredo Jaar’s newest work, ‘The Garden of Good and Evil’ (2017), is the titular piece of Jaar’s current solo show at Yorkshire Sculpture Park. The garden is a grid of 101 potted ever-green trees: Black Pine, Scots Pine, Green Yew, Variegated Holly, Green Holly, White Pine and Western Red Cedar, all species already present in the landscape of the sculpture park. Review by Hannah Newell

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Aeschylia Festival 2017, Eleusis, Athens

Danae Stratou: Upon the earth and under the clouds

Upon the earth and under the clouds (2017)

The major installation work, Upon the earth and under the clouds, by Greek artist Danae Stratou at the site of the Old Oil Mill in Eleusis, a major industrial town 11 miles northwest of central Athens which will be the European Capital of Culture 2021, takes visitors on a journey of multiple dimensions. Heavily charged by its ancient past revolving around the practices of Eleusinian Mysteries, a series of significant yet secret rituals and ceremonies known all across the ancient Greek and Roman world, the small town triggered the artist’s imagination and played host to a distinctive visual vocabulary. Review by Dr Kostas Prapoglou

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Tyneside Cinema, 10 Pilgrim Street, Newcastle upon Tyne NE1 6QG

Andrea Luka Zimmerman: Civil Rites

Film Still, Andrea Luka Zimmerman, Civil Rites

At its core, this is a film about the citizens of Newcastle and their indefatigable spirit of resistance, as it’s expressed itself over centuries. It takes us on a journey through a series of simply and beautifully composed shots of prosaic city spots that have also, at some historical moment, witnessed extraordinary acts of protest. Review by Helena Haimes

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Stuart Shave/Modern Art. 4-8 Helmet Row, London EC1V 3QJ

David Noonan: A Dark and Quiet Place

David Noonan, exhibition view, Modern Art, Vyner Street, London,

In the current political climate, few things seem more appealing that a quiet, dark room where one can shut out the world. Perhaps it is this escapist fantasy, then, that is the drive behind David Noonan’s new exhibition at Stuart Shave/Modern art entitled ‘A Dark and Quiet Place’. Review by Amy Jones

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Access Gallery, 222 E Georgia St, Vancouver, BC V6A 1Z7

Some Spontaneous Particulars: Vanessa Brown, Heide Hinrichs, Kathleen Ritter

Some Spontaneous Particulars,  Installation view

Some Spontaneous Particulars presents never-before exhibited work by three artists whose research-based practices have drawn them to the work of historical women artists Marianne Brandt (for Brown), Theresa Hak Kyung Cha (for Hinrichs) and Mina Loy (for Ritter), whose own production and memory has been overlooked or stifled within the art historical canon.

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Tate Modern, Bankside, London SE1 9TG

They Are Here: 40 Temps, 8 Days

Temps, 8 Days - Day 8: Reflecting on Life

For their new performance 40 Temps, 8 Days, artist collective They Are Here employed forty temp workers at an hourly rate of £10.50 to do activities normally done in one’s spare time.

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Whitechapel Gallery, 77-82 Whitechapel High St, London E1 7QX

Leonor Antunes: the frisson of the togetherness

Installation view at the Whitechapel Gallery, Leonor Antunes: the frisson of the togetherness, Gallery 2

The installation invites viewers to navigate the gallery’s history without words but through the fully accessible, the common and even the residual, giving the latter a value. Review by Rafael Barber Cortell

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